According to scholars of Japanese arts:
‘The teacher seldom identifies the error, but waits until the phrase is played correctly and then expresses approval’ (repetition of practice), and its ‘goal is to perform the piece exactly as the teacher has presented it’ (Trimillos 1989).
Throughout the process, verbal instruction and conceptual understanding are intentionally avoided as they may distract a whole-body grasp of artistry (Hare, 1998).
There is no artistic content for the performer to ‘grasp’ cognitively, but instead a surface aesthetic that ‘grasps’ or transforms the performer, shaping the artist into the form of the art itself’ (Keister 2004).
Yamaguchi Goro's students have written about his teaching style (see for details the edited book dedicated to Yamaguchi: ISBN-10: 4882933381). It was basically "teaching by non teaching." Here, I translate Mizuno Komei's memory of studying with Yamaguchi, which he posted on his website.
I have studied shakuhachi for 31 years since 1968 without any break. What's most gratifying to me was that I could study with Yamaguchi Goro sensei during this period of time.
During the 31 years, I had just one time in which Gamaguchi sensei made a complimentary remark on my progress, and two times he critiqued my playing. Otherwise, he normally said, "That's fine, that's all about it today." There was no feedback, whether my playing was good or bad, let alone any advice to my playing.
His mother told me these things: "Long time ago, the master teacher (Yamaguchi Shiro) got a student who was very serious about shakuhachi study. He memorized the music. The sheet music was put on the table for the teacher, not for him, and during the lesson, he kept starring at the teacher. He copied everything even when the teacher moved his eyebrow." Another time, she said, "One student complained that the teacher (Shiro) didn't teach anything while receiving the lesson fee. Artistry is not something you are taught to master but you steal from your teacher."
Surely, there is not much we can explain about music through language, as music expresses subtlety of human emotion. I believe that Goro-sensei also shared the same idea with Shiro-sensei, namely, you can only "steal" artistry from your teacher. Those who cannot understand it cannot understand it any way even with words, and those who can understand it can understand it without verbal explanation. Thus, either way, verbal explanation is unnecessary. I tried to be the latter by sensitizing my ability when I was taking lessons. When playing together with Goro-sensei, I tried to restrain my volume so that I could hear what he was trying to teach me. I am not sure even now if I could ever steal any of his artistry.[This is a Japanese way to be modest.]
Teaching by non teaching is a part of the Japanese teaching style. I've come across many teachers like Yamaguchi Goro who are not explicit in words. Playing together is the dominant format of teaching. But then, one may question, does this work outside of Japan? Many shakuhachi teachers, especially non-Japanese teachers, have reported that they needed to change their teaching styles they naturally acquired in Japan in order to accommodate to the needs of students outside of Japan. I remember local students of Kumamoto prefecture, upon meeting North American shakuhachi students, repeated several times, "You have only studied shakuhachi for 4 years, and you are already so good. I envy you because our teacher...."
I can see the values of both sides.
Tuesday, January 25, 2011
Friday, January 21, 2011
Tips to be an out-blower
http://b-log-b-log.blog.so-net.ne.jp/2010-08-16
http://jennifercluff.blogspot.com/2009/05/il-flauto-traverso-by-gianni-lazzari.html
http://www.youtube.com/watch?v=NcXRzZZv1mE&feature=player_embedded
http://jennifercluff.blogspot.com/2009/05/il-flauto-traverso-by-gianni-lazzari.html
http://www.youtube.com/watch?v=NcXRzZZv1mE&feature=player_embedded
Tuesday, January 18, 2011
Blowing inward and blowing outward
We often talk about uchibuki (内吹き) and sotobuki (外吹き). Uchibuki (blowing inward) means more air goes into a pipe. Sotobuki (blowing outward) refers to the opposite blowing style, that is, less air goes into a pipe.
The nature of advice and tips for shakuhachi playing varies, depending on which style you are familiar with. Some of the descriptions below may be useful if you already know your blowing style.
But how do you know your blowing style.
A visual example of blowing inward here.
A visual example of blowing outward here (in Okamoto’s research)
The player in the first example is Sogawa Kinya, a very good player and maker. Okamoto plays in the second example. In these video clips, you need to pay attention to where the air goes around the utaguchi.
Two ways to know if you are blowing in or out:
1. Use a kleenex like this
2. Put a candle (or lighter) under the bottom of your shakuhachi and blow Ro. If the fire disappears, you are likely to be a blowing inward person. Alternatively, you can put a candle near the utaguchi. If the fire disappears, you are probably a sotobuki player.
Those who blow downward tend to be uchibuki players whereas those blow straight or upward tend to be sotobuki players.
If you are an uchibuki player, you better use an instrument that is catered for uchibuki players (according to Sugawara). You play with an image that the air goes into the flute (downward).
If you are a sotobuki player, one tip for better playing is to make the lower line of your air jet (like air beam or blade) hit the top side of the utaguchi edge. It is like "shaving" the utaguchi.
Ishikawa introduces a way to switch from a blowing inward style to a blowing outward style based on his personal experience. (I summarized his point here. Take a look at his website for more info). Usually, when playing kan notes (high register), you tend to blow outward. Ishikawa therefore practiced this way. By maintaining the Re in kan position, he lowered the pitch to otsu Re, while paying attention to the blowing angle (not allowing the air to go into the flute). After getting used to this Re position, he practiced Ro in otsu in the blowing out position.
Generally, sotobuki generates a softer, louder, shimmering tone quality. Uchibuki is good for hard, dark, condensed tones.
Personally, I prefer the uchibuki tone quality when it comes to meri notes. I cannot get as big meri sound in the sotobuki style as I can in the uchibuki blowing. (It's a bit like trading in the brightness of kari tones for the richness of meri notes). Note that one cannot easily switch the blowing style while playing. It's more like changing a habit, which takes time.
Examples of sotobuki players: Yokoyama Katsuya, Kakizakai Kaoru, and many.
Examples of uchibuki players: Aoki Reibo, Tanabe Ryozan, Onishi Jofu (based on others' observations. I have not confirmed with each player)
This player is also probably an uchibuki player.
Sugawara Kuniyoshi tested more than 40 professional players and identified more sotobuki players than uchibuki players -- about 2 to 1 (Hogaku Journal, 2008, no. 260). He states hat the often repeated instruction in textbooks -- dividing the air into half the inside and outside of the flute -- is incorrect. In reality, the larger the deviation is, the larger the volume is. So is the tone quality (with less noise). This is confirmed in research on the pipe organ (by Yoshikawa Shigeru). So the first thing you need to know in order to improve your playing is your blowing style.
He also found that out-blowers were able to play other players' flutes that they had never played before, but in-blowers were NOT or even if they could, the sound was not as vibrant. Thus, he recommends that in-blower students had better acquire their instruments from in-blower makers.
My encounters with shaku players in the West seem to recommend the sotobuki style only (this could be an influence of Kenshukan teachers such as Kakizakai). Players of the western flute show a bit different attitude: More seem to appreciate uchibuki over sotobuki (the French style, etc.). But this is not certain yet.
The bottom line is (1) understand your blowing style and (2) seek advice from a teacher who is aware of the different blowing styles. Preferably, your teacher’s style is the same as yours.
I’ve come across many teachers (and makers) who simply say to their students (and customers), “your playing is not good enough,” when the student’s blowing style is not the same as theirs.
The nature of advice and tips for shakuhachi playing varies, depending on which style you are familiar with. Some of the descriptions below may be useful if you already know your blowing style.
But how do you know your blowing style.
A visual example of blowing inward here.
A visual example of blowing outward here (in Okamoto’s research)
The player in the first example is Sogawa Kinya, a very good player and maker. Okamoto plays in the second example. In these video clips, you need to pay attention to where the air goes around the utaguchi.
Two ways to know if you are blowing in or out:
1. Use a kleenex like this
2. Put a candle (or lighter) under the bottom of your shakuhachi and blow Ro. If the fire disappears, you are likely to be a blowing inward person. Alternatively, you can put a candle near the utaguchi. If the fire disappears, you are probably a sotobuki player.
Those who blow downward tend to be uchibuki players whereas those blow straight or upward tend to be sotobuki players.
If you are an uchibuki player, you better use an instrument that is catered for uchibuki players (according to Sugawara). You play with an image that the air goes into the flute (downward).
If you are a sotobuki player, one tip for better playing is to make the lower line of your air jet (like air beam or blade) hit the top side of the utaguchi edge. It is like "shaving" the utaguchi.
Ishikawa introduces a way to switch from a blowing inward style to a blowing outward style based on his personal experience. (I summarized his point here. Take a look at his website for more info). Usually, when playing kan notes (high register), you tend to blow outward. Ishikawa therefore practiced this way. By maintaining the Re in kan position, he lowered the pitch to otsu Re, while paying attention to the blowing angle (not allowing the air to go into the flute). After getting used to this Re position, he practiced Ro in otsu in the blowing out position.
Generally, sotobuki generates a softer, louder, shimmering tone quality. Uchibuki is good for hard, dark, condensed tones.
Personally, I prefer the uchibuki tone quality when it comes to meri notes. I cannot get as big meri sound in the sotobuki style as I can in the uchibuki blowing. (It's a bit like trading in the brightness of kari tones for the richness of meri notes). Note that one cannot easily switch the blowing style while playing. It's more like changing a habit, which takes time.
Examples of sotobuki players: Yokoyama Katsuya, Kakizakai Kaoru, and many.
Examples of uchibuki players: Aoki Reibo, Tanabe Ryozan, Onishi Jofu (based on others' observations. I have not confirmed with each player)
This player is also probably an uchibuki player.
Sugawara Kuniyoshi tested more than 40 professional players and identified more sotobuki players than uchibuki players -- about 2 to 1 (Hogaku Journal, 2008, no. 260). He states hat the often repeated instruction in textbooks -- dividing the air into half the inside and outside of the flute -- is incorrect. In reality, the larger the deviation is, the larger the volume is. So is the tone quality (with less noise). This is confirmed in research on the pipe organ (by Yoshikawa Shigeru). So the first thing you need to know in order to improve your playing is your blowing style.
He also found that out-blowers were able to play other players' flutes that they had never played before, but in-blowers were NOT or even if they could, the sound was not as vibrant. Thus, he recommends that in-blower students had better acquire their instruments from in-blower makers.
My encounters with shaku players in the West seem to recommend the sotobuki style only (this could be an influence of Kenshukan teachers such as Kakizakai). Players of the western flute show a bit different attitude: More seem to appreciate uchibuki over sotobuki (the French style, etc.). But this is not certain yet.
The bottom line is (1) understand your blowing style and (2) seek advice from a teacher who is aware of the different blowing styles. Preferably, your teacher’s style is the same as yours.
I’ve come across many teachers (and makers) who simply say to their students (and customers), “your playing is not good enough,” when the student’s blowing style is not the same as theirs.
Thursday, January 13, 2011
The meaning of "sugagaki"
According to the 大辞泉 dictionary, sugagaki means;
1. One of the techniques used for the Japanese koto (wagon), which involves plucking all the strings at once from the near side and then stopping them except the third and fourth strings, using the left hand, so that the reverberation of these two
strings remains.
2. signifies koto or shamisen pieces, composed in the early edo period, which do not contain singing parts. An example is "rokudan sugagaki" (rokudan no shirabe).
3. A kind of shakuhachi honkyoku music. It's been said that this was originally an arrangement of the above kind (definition 2) but not certain. An example is "sanya sugagaki."
4. One of the shamisen phrases, a simple one, performed by a series of alternation between playing the second and third strings simultaneously AND plucking only the third string. During the edo time, prostitutes of the yoshiwara area performed to attract customers in front of the shop. Called "mise sugagaki."
5. A kind of "geza" music for kabuki that contains the #4 phrase mentioned above; it also refers to other kinds of shamisen music containing the #4 phrase. It is an indication of "kuruwa." (Geza music is played as background music behind the stage of kabuki performance where it is covered by a black blind. Kuruwa signifies an enclose area, such as a prostitution district, which in older times was enclosed by walls or trenches.
According to the 大辞林 dictionary,
Sugagaki (清掻・菅掻) is a noun of the verb "sugagaku."
1. One of the kata forms of wagon technique. It is often used in pieces as a basic form.
2. Koto or shamisen pieces composed in the early edo period that do not contain a singing part.
3. Often written as 菅垣, it is attached to names of shakuhachi honkyoku pieces, such as "sanya sugagaki." The original may mean the music of stringed instruments.
4. The kind of music prostitutes played inside the lattice of a sex house to while waiting for customers. It is a form of shamisen music with no singing part. "Mise sugagaki."
5. A kind of geza music, performed in the scene of yoshiwara.
Shimeda Takashi writes in 日本大百科全書 that:
...is written 菅掻、清攬、or 菅垣. Generally, it refers to a set of instrumental music from the kinsei (16th-19th century). It is a name of instrumental music played with so (koto), shamisen, and hitoyogiri, which tends to be introductory pieces. This kind of pieces are included in "shichiku shoshinshu" (『糸竹初心集』（1664） and "oonusa" (『大ぬさ』（1685）.
There are also many koten honkyoku shakuhachi pieces that have a sugagaku title, such as "akita sugagaki" and "nidan sugagaki."
It is a basic technique used for the wagon. It also refers to phrases that include
this technique.
Also used for the gakuso (a koto used in gagaku music) for the same reason.
It also serves as the name of phrases used in shamisen music. It began`as a simple expression played by prostitutes in the Yoshiwawa of Edo as a means to attract customers. It was later included in theater music and became an expression of the yoshiwara and kuruwa (red district). Its applications can be found in tokiwazu, kiyomoto, and nagauta (styles of music).
According to the 日本国語大辞典,
Sugagaki is a technique used in wagon playing... There are two ways: Plucking the strings from the far side, called jungaki, and plucking from the near side, called gyakugaki. [I think the combination of these two is called katagaki.]
According to the 日本国語大辞典,
Sugagaku 清掻 as a verb means playing some notes sporadically rather than performing
a piece or a set of technique.
[Example: "You shouldn't sugagaku (play around or improvise)but play hon-choshi or tsu-re everyday."]
I was told that Akita sugagaki is a "soft" piece whereas koku, monbiraki, shinya, etc. are "hard" pieces. Sugagaki may carry some "feminine" connotations....
1. One of the techniques used for the Japanese koto (wagon), which involves plucking all the strings at once from the near side and then stopping them except the third and fourth strings, using the left hand, so that the reverberation of these two
strings remains.
2. signifies koto or shamisen pieces, composed in the early edo period, which do not contain singing parts. An example is "rokudan sugagaki" (rokudan no shirabe).
3. A kind of shakuhachi honkyoku music. It's been said that this was originally an arrangement of the above kind (definition 2) but not certain. An example is "sanya sugagaki."
4. One of the shamisen phrases, a simple one, performed by a series of alternation between playing the second and third strings simultaneously AND plucking only the third string. During the edo time, prostitutes of the yoshiwara area performed to attract customers in front of the shop. Called "mise sugagaki."
5. A kind of "geza" music for kabuki that contains the #4 phrase mentioned above; it also refers to other kinds of shamisen music containing the #4 phrase. It is an indication of "kuruwa." (Geza music is played as background music behind the stage of kabuki performance where it is covered by a black blind. Kuruwa signifies an enclose area, such as a prostitution district, which in older times was enclosed by walls or trenches.
According to the 大辞林 dictionary,
Sugagaki (清掻・菅掻) is a noun of the verb "sugagaku."
1. One of the kata forms of wagon technique. It is often used in pieces as a basic form.
2. Koto or shamisen pieces composed in the early edo period that do not contain a singing part.
3. Often written as 菅垣, it is attached to names of shakuhachi honkyoku pieces, such as "sanya sugagaki." The original may mean the music of stringed instruments.
4. The kind of music prostitutes played inside the lattice of a sex house to while waiting for customers. It is a form of shamisen music with no singing part. "Mise sugagaki."
5. A kind of geza music, performed in the scene of yoshiwara.
Shimeda Takashi writes in 日本大百科全書 that:
...is written 菅掻、清攬、or 菅垣. Generally, it refers to a set of instrumental music from the kinsei (16th-19th century). It is a name of instrumental music played with so (koto), shamisen, and hitoyogiri, which tends to be introductory pieces. This kind of pieces are included in "shichiku shoshinshu" (『糸竹初心集』（1664） and "oonusa" (『大ぬさ』（1685）.
There are also many koten honkyoku shakuhachi pieces that have a sugagaku title, such as "akita sugagaki" and "nidan sugagaki."
It is a basic technique used for the wagon. It also refers to phrases that include
this technique.
Also used for the gakuso (a koto used in gagaku music) for the same reason.
It also serves as the name of phrases used in shamisen music. It began`as a simple expression played by prostitutes in the Yoshiwawa of Edo as a means to attract customers. It was later included in theater music and became an expression of the yoshiwara and kuruwa (red district). Its applications can be found in tokiwazu, kiyomoto, and nagauta (styles of music).
According to the 日本国語大辞典,
Sugagaki is a technique used in wagon playing... There are two ways: Plucking the strings from the far side, called jungaki, and plucking from the near side, called gyakugaki. [I think the combination of these two is called katagaki.]
According to the 日本国語大辞典,
Sugagaku 清掻 as a verb means playing some notes sporadically rather than performing
a piece or a set of technique.
[Example: "You shouldn't sugagaku (play around or improvise)but play hon-choshi or tsu-re everyday."]
I was told that Akita sugagaki is a "soft" piece whereas koku, monbiraki, shinya, etc. are "hard" pieces. Sugagaki may carry some "feminine" connotations....
Sunday, January 9, 2011
Kondo Soetsu
Kondo Soetsu was originally from Nagasaki where he was exposed to a
Chinese trumpet (Perhaps, suona). Nagasaki at that time was exposed to foreign cultures, and Chinese music (shingaku) was easily acceptable. Soetsu moved to Kyoto and studied myoan shinpo-ryu with Ozaki Shinryo.... Because his emphasis was gaikoku,not honkyoku, Ozaki designated Katsuura Shozan, not Kondo Soetsu, for the successor of the myoan shinpo tradition. After moving to Osaka, he established the foundation for sankyoku collaboration. He was the founder of soetsu-ryu in which he promoted gaikoku pieces. Although he was small, his sound was large and quite vibrant. Many studied with him. Examples were.... Many players of the time who were ranked top in the 1871 (meiji 4nen) shakuhachi ranking were his students. Because he held the flute horizontally, he was called "charumera Soetsu." The soetsu school no longer exists. Nakao Tozan studied with a student of Soetsu. Sakai Chikuho also studied with a student of Soetsu.
Chinese trumpet (Perhaps, suona). Nagasaki at that time was exposed to foreign cultures, and Chinese music (shingaku) was easily acceptable. Soetsu moved to Kyoto and studied myoan shinpo-ryu with Ozaki Shinryo.... Because his emphasis was gaikoku,not honkyoku, Ozaki designated Katsuura Shozan, not Kondo Soetsu, for the successor of the myoan shinpo tradition. After moving to Osaka, he established the foundation for sankyoku collaboration. He was the founder of soetsu-ryu in which he promoted gaikoku pieces. Although he was small, his sound was large and quite vibrant. Many studied with him. Examples were.... Many players of the time who were ranked top in the 1871 (meiji 4nen) shakuhachi ranking were his students. Because he held the flute horizontally, he was called "charumera Soetsu." The soetsu school no longer exists. Nakao Tozan studied with a student of Soetsu. Sakai Chikuho also studied with a student of Soetsu.
Tuesday, January 4, 2011
Pedagogy of Kata
In the context of Japanese knowledge transmission, the primacy of bodily form is evident (Tsujimoto, 1999). Kata is the philosophical principle that underpins the bodily form of artistry transmission (e.g., Hahn, 2007; Matsunobu, 2007b, 2009; Powell, 2004; Yuasa, 1987). Traditionally, Japanese arts have been preserved and transmitted through kata, literally ‘form’ or ‘mold,’ through which students learn structures of art, patterns of artistic and social behaviors, and moral and ethical values, all in accordance with prescribed formulae. Kata is a set of bodily movements that have been developed and preserved by precedent artists. The most efficient and authentic way to master the artistry, it is believed, is to follow the model defined as kata.
Central to this pedagogy is the repeated practice and imitation of the model through the body. The acquisition of kata is thus a ‘discipline for shaping one’s body into a form’ (Yuasa, 1987: 105). Trimillos’ observation of a Japanese teacher epitomizes the characteristics of kata learning: ‘The teacher seldom identifies the error, but waits until the phrase is played correctly and then expresses approval’ (repetition of practice), and its ‘goal is to perform the piece exactly as the teacher has presented it’ (Trimillos 1989: 39). Yano (2002) observes that the Western dualism between form and content, each of which traditionally corresponds to the false and the true, dissolves as continuous and interpenetrating parts in the theory of kata. Kata is content attendant upon form. The creative goal of kata-training is ‘to fuse the individual to the form so that the individual becomes the form and the form becomes the individual’ (Yano 2002: 26).
Kata is also a social practice in that it involves the body directly in a social setting. Through the correct imitation of formal patterns that define not only ideal artistic expressions but also ideal moral behaviors, students participate in the social embodiment of values. The difference between kata and what we are familiar with as ‘form’ (called katachi in Japanese) is that the former is a content-attendant, embodied, habitual, contextualized, and value-laden form, whereas the latter is an abstract and empty form. Kata historicizes, socializes, and spiritualizes the individual, but katachi formulates, abstracts, and standardizes one’s imagination and thought.
In the context of noh performance, the distinction between kata and katachi is explained through the concept of tai (‘embodied form’) and yū (‘expressiveness’ or ‘taste’). If someone expresses a piece only with yū (that is without tai), the performance is not considered as a representation of the piece. The founder of noh, Zeami Motokiyo (1364–1443), elaborates it in this way:
The core of a piece of work derives from tai (or kata) not yū (or katachi). If someone has copied only the latter, but not the former, then his or her expression becomes superficial and lacks spirit.
KM: Is your embodiment of shakuhachi music based on the kata or devised as katachi?
Central to this pedagogy is the repeated practice and imitation of the model through the body. The acquisition of kata is thus a ‘discipline for shaping one’s body into a form’ (Yuasa, 1987: 105). Trimillos’ observation of a Japanese teacher epitomizes the characteristics of kata learning: ‘The teacher seldom identifies the error, but waits until the phrase is played correctly and then expresses approval’ (repetition of practice), and its ‘goal is to perform the piece exactly as the teacher has presented it’ (Trimillos 1989: 39). Yano (2002) observes that the Western dualism between form and content, each of which traditionally corresponds to the false and the true, dissolves as continuous and interpenetrating parts in the theory of kata. Kata is content attendant upon form. The creative goal of kata-training is ‘to fuse the individual to the form so that the individual becomes the form and the form becomes the individual’ (Yano 2002: 26).
Kata is also a social practice in that it involves the body directly in a social setting. Through the correct imitation of formal patterns that define not only ideal artistic expressions but also ideal moral behaviors, students participate in the social embodiment of values. The difference between kata and what we are familiar with as ‘form’ (called katachi in Japanese) is that the former is a content-attendant, embodied, habitual, contextualized, and value-laden form, whereas the latter is an abstract and empty form. Kata historicizes, socializes, and spiritualizes the individual, but katachi formulates, abstracts, and standardizes one’s imagination and thought.
In the context of noh performance, the distinction between kata and katachi is explained through the concept of tai (‘embodied form’) and yū (‘expressiveness’ or ‘taste’). If someone expresses a piece only with yū (that is without tai), the performance is not considered as a representation of the piece. The founder of noh, Zeami Motokiyo (1364–1443), elaborates it in this way:
One must know tai-yū in Noh. Tai is like a flower and yū is like its scent. Or tai is like the moon and yū like the moon-light. If one has a thorough comprehension of tai, one should naturally possess yū…. No one should copy the yū, the outer appearance of the performance. Those who know enough see another actor’s performance with heart and soul and so copy the work of tai. When the tai is closely copied, the actor’s performance will naturally have yū with it. (Sekine, 1985: 117–118)
The core of a piece of work derives from tai (or kata) not yū (or katachi). If someone has copied only the latter, but not the former, then his or her expression becomes superficial and lacks spirit.
KM: Is your embodiment of shakuhachi music based on the kata or devised as katachi?
Wednesday, September 1, 2010
A Word A Day
A friend of mine taught me a new word.
The word is beek. It's a verb with two meanings: (1) to bask or warm in the sunshine or before a fireplace, stove, or bonfire; and (2) to season (wood) by exposure to heat.
Beek the bamboo
"The beeking step is quite important in ensuring the strength and resilience of the bamboo."
It almost might sound like the word "bake"--or people might think that's what you're saying.
The word is beek. It's a verb with two meanings: (1) to bask or warm in the sunshine or before a fireplace, stove, or bonfire; and (2) to season (wood) by exposure to heat.
Beek the bamboo
"The beeking step is quite important in ensuring the strength and resilience of the bamboo."
It almost might sound like the word "bake"--or people might think that's what you're saying.
Sunday, August 29, 2010
Viewed from the inside
Many students came to study with this teacher. He was very strict yet deep in his heart. He didn’t hesitate to criticize his student during the lesson. One day, the teacher asked a student to play for him. Unsatisfied with his performance, the teacher asked a female student next to him and asked for her opinion. She said, “It was machine like.” This teacher didn’t like how the student played the piece with no heart. This student eventually became a good player, even though this teacher’s opinion about this student did not change.
Another time, there was a foreign student who came to study with this teacher. This teacher kept reminding this student that he was not doing right on many points. The teacher finally asked another student to translate his advice into English so that this student could understand better. After hearing his advice in English, the student became grumpy and stared at the translator. The translator told the teacher: “I don’t want to get involved in this. You better ask those female students to do it, as he is not going to listen to me.” Since then, the teacher stopped giving detailed advices to this student. Even so, this student was eventually granted a shihan license. "Why?" Some of his students asked. The teacher responded: “Because he insisted that he needs a teaching license to get a teaching position in his country.”
Although this teacher didn’t like these students’ performances, they became good players. It indicates, however, that their spirits were different from what the teacher tried to cultivate in them.
Another time, there was a foreign student who came to study with this teacher. This teacher kept reminding this student that he was not doing right on many points. The teacher finally asked another student to translate his advice into English so that this student could understand better. After hearing his advice in English, the student became grumpy and stared at the translator. The translator told the teacher: “I don’t want to get involved in this. You better ask those female students to do it, as he is not going to listen to me.” Since then, the teacher stopped giving detailed advices to this student. Even so, this student was eventually granted a shihan license. "Why?" Some of his students asked. The teacher responded: “Because he insisted that he needs a teaching license to get a teaching position in his country.”
Although this teacher didn’t like these students’ performances, they became good players. It indicates, however, that their spirits were different from what the teacher tried to cultivate in them.
Monday, August 23, 2010
Take ni awasete fuku
Depending on the character of the flute, the player needs to accommodate his or her playing style, even embouchure in order to play it. (Japanese expressed this pedagogical idea by saying take ni awasete fuku, or “blowing according to the character of each piece of bamboo”).
Shimura Satoshi uses the term “Iki no michi” (“route of breath air”). He claims that the ji-nashi shakuhachi, especially old ones made during the Edo period, shows a wide variety of differences. These flutes do not sound resonant unless the player accustoms himself to its character brought by its unique, innate bore shape. The player needs to change his blowing style in the way that the air passes through a uniquely shaped inner space of the bamboo. This process requires months of practice and acclimation. (In the interview posted earlier, he described that he had come across ji-nashi that didn’t sound well initially but later changed his impression).
Toya Denko (1984) goes so far as to say that the air carves bamboo:
The ji-nashi shakuhachi is different from one another in terms of inner bore space. The player needs to get used to its own blowing style. Otherwise, the pitch may be inaccurate and the sounding may not be rich. However, as he plays it for some time, he understands the tips of how to blow into it. Because it does not bear a filling material inside the bore, the bamboo fabric may naturally be shaped in time [by blowing air] in a way that it resonates well. This transformation is called “road takes shape” (michi ga tsuku).
How long does it take to shave the bore until the bamboo sounds good? Must be more than a couple of months. Not my experience.
Shimura Satoshi uses the term “Iki no michi” (“route of breath air”). He claims that the ji-nashi shakuhachi, especially old ones made during the Edo period, shows a wide variety of differences. These flutes do not sound resonant unless the player accustoms himself to its character brought by its unique, innate bore shape. The player needs to change his blowing style in the way that the air passes through a uniquely shaped inner space of the bamboo. This process requires months of practice and acclimation. (In the interview posted earlier, he described that he had come across ji-nashi that didn’t sound well initially but later changed his impression).
Toya Denko (1984) goes so far as to say that the air carves bamboo:
The ji-nashi shakuhachi is different from one another in terms of inner bore space. The player needs to get used to its own blowing style. Otherwise, the pitch may be inaccurate and the sounding may not be rich. However, as he plays it for some time, he understands the tips of how to blow into it. Because it does not bear a filling material inside the bore, the bamboo fabric may naturally be shaped in time [by blowing air] in a way that it resonates well. This transformation is called “road takes shape” (michi ga tsuku).
How long does it take to shave the bore until the bamboo sounds good? Must be more than a couple of months. Not my experience.
Thursday, March 11, 2010
礫川餘光's interview with Tomimori Kyozan 5
Track 6
There is a variety of honkyoku pieces. Tsuru no sugomori in kinko is to be played for happy occasions. Following the san-san-kudo style of wedding ritual (shinto based), the piece repeats koro-koro 3 times and again 9 times. In time, the piece gradually changed like that, depending on who performed (altered) it. The myoan version of kyorei, too. The koro-koro phrase was omitted by Higuchi Taizan sensei because it is too difficult to play. Great masters can do it. But when playing in renakn (ensemble of more than 2 players) for kenkyoku (music offering), the koro-koro in ensemble doesn't go smoothly. The proverb says it takes 3 years to master the koro-koro technique. That's why Higuchi sensei deleted it. Just as he did, honkyoku became both sophisticated and spoiled due to players' additions. The style of ajikan that people play today is exactly the case.
Today, Ajikan is played quite differently from how Miyagawa Nyozan played. Although the form is the same, the level of spirit is different. Myozan's verve is no longer carried. The original of Ajikan, Sashi (that people play today), is rather closer to Ajikan in taste. Ajikan is an interesting tune. Sashi (that had been transmitted) in the Oshu area was brought to Fukuoka and became Shinhichi Sashi. This was brought to Kyoto by Miyagawa Nyozan. To this Higuchi Taizan in Kyoto added phrases from Koku as well as a melody taken from a shomyo song, Akigarasu (autumn crow), which became Taizan's Aji. It was Suenaga Sessan in Fukuoka who named Ajikan. Miyagawa Nyozan learned Oshu Sashi from Hasegawa Togaku who was the last abbot of Futaiken in Sendai, and Nyozan's Ajikan embraced his myoan style and the Oshu style of playing.
The reason why many people today play Ajikan in such a stagnant style is that many learned Ajikan from Tani Kyochiku who used 2.5 long shakuhachi. That's how it became a dull, dark song. Miyagawa Nyozan played it on 1.8.
Interviewer: There is a recording of Miyagawa Nyozan's Ajikan, even though the quality of the recording is not so great.
Kyozan: Yes, unfortunately, the recording does not carry the true sounding. To our ears, his playing actually sounded quite rough. But he had subtle expressions that nobody could imitate—the level of frantic playing. That is the true Ajikan that expresses the spirit of shingon's Ajikanpo (?). That is what is missing in today's performances. Only the form is imitated. People simply drag the song and extend the form.
Interviewer: There is also a recording of Nishimura Koku's Ajikan. He was a disciple of Tani Kyochiku.
Kyozan: Yes. Tani Kyochiku's Ajikan also carries some sort of taste and import when played with a longer flute. However, Miyagawa Nyozan said, "I wonder where he learned it from? If that is the Miyagawa Nyozan's Ajikan, it would be troublesome." I think it is fine if there is Tani Kyochiku's Ajikan. But he probably should have changed the name
of the piece.
There is a variety of honkyoku pieces. Tsuru no sugomori in kinko is to be played for happy occasions. Following the san-san-kudo style of wedding ritual (shinto based), the piece repeats koro-koro 3 times and again 9 times. In time, the piece gradually changed like that, depending on who performed (altered) it. The myoan version of kyorei, too. The koro-koro phrase was omitted by Higuchi Taizan sensei because it is too difficult to play. Great masters can do it. But when playing in renakn (ensemble of more than 2 players) for kenkyoku (music offering), the koro-koro in ensemble doesn't go smoothly. The proverb says it takes 3 years to master the koro-koro technique. That's why Higuchi sensei deleted it. Just as he did, honkyoku became both sophisticated and spoiled due to players' additions. The style of ajikan that people play today is exactly the case.
Today, Ajikan is played quite differently from how Miyagawa Nyozan played. Although the form is the same, the level of spirit is different. Myozan's verve is no longer carried. The original of Ajikan, Sashi (that people play today), is rather closer to Ajikan in taste. Ajikan is an interesting tune. Sashi (that had been transmitted) in the Oshu area was brought to Fukuoka and became Shinhichi Sashi. This was brought to Kyoto by Miyagawa Nyozan. To this Higuchi Taizan in Kyoto added phrases from Koku as well as a melody taken from a shomyo song, Akigarasu (autumn crow), which became Taizan's Aji. It was Suenaga Sessan in Fukuoka who named Ajikan. Miyagawa Nyozan learned Oshu Sashi from Hasegawa Togaku who was the last abbot of Futaiken in Sendai, and Nyozan's Ajikan embraced his myoan style and the Oshu style of playing.
The reason why many people today play Ajikan in such a stagnant style is that many learned Ajikan from Tani Kyochiku who used 2.5 long shakuhachi. That's how it became a dull, dark song. Miyagawa Nyozan played it on 1.8.
Interviewer: There is a recording of Miyagawa Nyozan's Ajikan, even though the quality of the recording is not so great.
Kyozan: Yes, unfortunately, the recording does not carry the true sounding. To our ears, his playing actually sounded quite rough. But he had subtle expressions that nobody could imitate—the level of frantic playing. That is the true Ajikan that expresses the spirit of shingon's Ajikanpo (?). That is what is missing in today's performances. Only the form is imitated. People simply drag the song and extend the form.
Interviewer: There is also a recording of Nishimura Koku's Ajikan. He was a disciple of Tani Kyochiku.
Kyozan: Yes. Tani Kyochiku's Ajikan also carries some sort of taste and import when played with a longer flute. However, Miyagawa Nyozan said, "I wonder where he learned it from? If that is the Miyagawa Nyozan's Ajikan, it would be troublesome." I think it is fine if there is Tani Kyochiku's Ajikan. But he probably should have changed the name
of the piece.
礫川餘光's interview with Tomimori Kyozan 4
Track 5
You are working on a difficult subject. When it comes to honkyoku, you cannot understand it unless you devote yourself to performing it. It cannot be approached through books. Besides, there is very little literature about it.
There are good female players, do you know that? For example, Iso Ikko (joshi) in Fukuoka. She already played the shakuhachi when she was in girls' school. The wife of deceased Myochin-san in Shikoku was also good. So here and there. People tend to think that the instrument is for men.
You are working on a difficult subject. When it comes to honkyoku, you cannot understand it unless you devote yourself to performing it. It cannot be approached through books. Besides, there is very little literature about it.
There are good female players, do you know that? For example, Iso Ikko (joshi) in Fukuoka. She already played the shakuhachi when she was in girls' school. The wife of deceased Myochin-san in Shikoku was also good. So here and there. People tend to think that the instrument is for men.
Saturday, January 30, 2010
礫川餘光's interview with Tomimori Kyozan 3
Track 4
The interviewer: Is there any kinko player who today transmits the old former of playing?
Tomimori: Ummmmm. When it comes to honkyoku... Masters like Araki Chio-san played both classics and sankyoku well. But usually it is not easy unless they are really great masters. Miura Kindo-san played honkyoku well in kinko-ryu. He was a brother of Miura Kinnosuke who was the jiinokami (servant?) of the meiji tenno emperor. I visited to comfort him after the Great Kanto Earthquake occurred (in 1923) and found him still making shakuhachi including larger bore size flutes. I asked him if kinko people also play such sizes of shakuhachi. He answered, "honkyoku needs to be played on bigger bore flutes." Now kinko shakuhachi are much narrower. I wonder if many people today hope to have Miura Kindo's shakuhachi, cause someone said "if you find Miura Kondo shakuhachi, let me know. I would buy it for 300000 yen." Shakuhachi became quite expensive. Today, kinko-ryu people themselves say that none of kinko-ryu masters play honkyoku well. That should be impossible, as the emphasis is now placed on sankyoku performance. I think that's fine - they play sankyoku. If kinko-ryu people play myoan shakuhachi, then sankyoku players won't be enough in number. Then, this (money) dries up! (laugh) That's why it is impossible. So kinko-ryu honkyoku is like daijo (mahayana), and kinko-ryu people should acknowledge and make good use of it. When it comes to theater music and other kinds of music, kinko-ryu playing is better. When it comes to music offering, myoan would be better. Each has pros and cons....
The interviewer: Is there any kinko player who today transmits the old former of playing?
Tomimori: Ummmmm. When it comes to honkyoku... Masters like Araki Chio-san played both classics and sankyoku well. But usually it is not easy unless they are really great masters. Miura Kindo-san played honkyoku well in kinko-ryu. He was a brother of Miura Kinnosuke who was the jiinokami (servant?) of the meiji tenno emperor. I visited to comfort him after the Great Kanto Earthquake occurred (in 1923) and found him still making shakuhachi including larger bore size flutes. I asked him if kinko people also play such sizes of shakuhachi. He answered, "honkyoku needs to be played on bigger bore flutes." Now kinko shakuhachi are much narrower. I wonder if many people today hope to have Miura Kindo's shakuhachi, cause someone said "if you find Miura Kondo shakuhachi, let me know. I would buy it for 300000 yen." Shakuhachi became quite expensive. Today, kinko-ryu people themselves say that none of kinko-ryu masters play honkyoku well. That should be impossible, as the emphasis is now placed on sankyoku performance. I think that's fine - they play sankyoku. If kinko-ryu people play myoan shakuhachi, then sankyoku players won't be enough in number. Then, this (money) dries up! (laugh) That's why it is impossible. So kinko-ryu honkyoku is like daijo (mahayana), and kinko-ryu people should acknowledge and make good use of it. When it comes to theater music and other kinds of music, kinko-ryu playing is better. When it comes to music offering, myoan would be better. Each has pros and cons....
Thursday, January 21, 2010
礫川餘光's interview with Tomimori Kyozan 2
Track 3
So when the shakuhachi began to merge with the strings, the need to study scales emerged. Before the genroku (of the edo) period, people changed the lengths of shakuhachi to play in ensemble. However, after the genroku period, around the time of the first Kurosawa Kinko, 1.8 shakuhachi became the standard size. As a result, shakuhachi pieces needed to be transposed to different scales. Then, five scales of shakuhachi music emerged.
"Mukai Reibo" and "Koku Reibo" in kinko-ryu were transposed to the akebono scale. "Sanya Sugagaki" and "Kumoi Jishi" were transposed to the kumoi scale. These are very precious pieces, as they show traits of transposition and the five scales. The music score(s) of these pieces recorded around the time were also well written, much better than those of myoan shakuhachi. Half tones were also being used in kinko-ryu only after the meiji period. They were not used initially.
[Tomimori doesn't seem to explain well in the first part. He probably wants to point out that prior to the influence of strings, all the shakuhachi pieces were played in the same scale. Not sure about this]
So when the shakuhachi began to merge with the strings, the need to study scales emerged. Before the genroku (of the edo) period, people changed the lengths of shakuhachi to play in ensemble. However, after the genroku period, around the time of the first Kurosawa Kinko, 1.8 shakuhachi became the standard size. As a result, shakuhachi pieces needed to be transposed to different scales. Then, five scales of shakuhachi music emerged.
"Mukai Reibo" and "Koku Reibo" in kinko-ryu were transposed to the akebono scale. "Sanya Sugagaki" and "Kumoi Jishi" were transposed to the kumoi scale. These are very precious pieces, as they show traits of transposition and the five scales. The music score(s) of these pieces recorded around the time were also well written, much better than those of myoan shakuhachi. Half tones were also being used in kinko-ryu only after the meiji period. They were not used initially.
[Tomimori doesn't seem to explain well in the first part. He probably wants to point out that prior to the influence of strings, all the shakuhachi pieces were played in the same scale. Not sure about this]
Wednesday, January 20, 2010
Orchestra Asia
Around 4:35... Not my cup of tea. Makes me wonder to what extent the differences of underlying values were filled.
Tuesday, January 5, 2010
Funagawa Toshio 2
More recordings of Funagawa Toshio
Funagawa was born in Shimane in 1931, began tozan shakuhachi at the age of 16 with Matsuda Suizan. In 1956, the year when he received a shihan rank, he moved to Tokyo and studied Furukawa Taro, a koto player. He was awarded the first prize at the Tokyo Shinbun hogaku competition (composition) , the Minister of Education prize, and the NHK prize.
B-2 Koto quartet (three movements: 1 Moderato, 2 Lento, and 3 Allegro)
Shakuhachi by Miyata Kohachiro, plus koto, viola, and cello
B-1 Shakuhachi trio (four movements; 1, 2, 3, and 4)
Shakuhachi: Aoki Reibo, Miyata kohachiro, Yokoyama Katsuya
A-1 Suite: Izumoji (1. Kiyomizudera no boshiki; 2. Matsuri; 3. Shinjiko no yubae)
Shakuhachi: Yokoyama Katsuya, plus, two koto(s), and 17-string koto
A-2 Shakuhachi Quintet (two movements: 1 and 2)
Shakuhachi: Miyata Kohachiro, Yokoyama Katsuya, Aoki Reibo, plus koto (Haga Mikiko), and 17-string koto (Miyashita Shin)
A-3 Buson’s poetry (four movements titled with Buson’s poems)
Koto: Nakata Sonoko, Narrator: Funagawa Toshio
A-1 Satoru: Ensemble Concert for Two Shakuhachi and Groups (gun)
1. Shiru; 2. Sameru; 3. Oboeru; 4. Satoru
Solo shakuhachi: Aoki Reibo and Yokoyama Katsuya
Group shakuhachi: (Part 1) Sakata Seizan, Soekawa Hiroshi, Kanei Akio, Inoue Yoshinori, (Part 2) Kono Masaaki, Nagase Kenji, Furuya Teruo, (Part 2-2) Mitsuhashi Kifu, Seki Ichiro
B-1 For koto and sangen
B-2 Shiki no tsuki (four movements: 1, 2, 3, and 4)
A-2 Symphonic poem: Ocean
B-3 Fuku kyosokyoku (multi concert) for koto and shakuhachi
Conductor: Fukuda Kazuo, Shakuhachi: Funagawa Toshio, Koto: Haga Mikiko, and the hogaku ensemble
1. Hachidan, 2. Midare
3. 足をはずされた客車のうた
Funagawa was born in Shimane in 1931, began tozan shakuhachi at the age of 16 with Matsuda Suizan. In 1956, the year when he received a shihan rank, he moved to Tokyo and studied Furukawa Taro, a koto player. He was awarded the first prize at the Tokyo Shinbun hogaku competition (composition) , the Minister of Education prize, and the NHK prize.
B-2 Koto quartet (three movements: 1 Moderato, 2 Lento, and 3 Allegro)
Shakuhachi by Miyata Kohachiro, plus koto, viola, and cello
B-1 Shakuhachi trio (four movements; 1, 2, 3, and 4)
Shakuhachi: Aoki Reibo, Miyata kohachiro, Yokoyama Katsuya
A-1 Suite: Izumoji (1. Kiyomizudera no boshiki; 2. Matsuri; 3. Shinjiko no yubae)
Shakuhachi: Yokoyama Katsuya, plus, two koto(s), and 17-string koto
A-2 Shakuhachi Quintet (two movements: 1 and 2)
Shakuhachi: Miyata Kohachiro, Yokoyama Katsuya, Aoki Reibo, plus koto (Haga Mikiko), and 17-string koto (Miyashita Shin)
A-3 Buson’s poetry (four movements titled with Buson’s poems)
Koto: Nakata Sonoko, Narrator: Funagawa Toshio
A-1 Satoru: Ensemble Concert for Two Shakuhachi and Groups (gun)
1. Shiru; 2. Sameru; 3. Oboeru; 4. Satoru
Solo shakuhachi: Aoki Reibo and Yokoyama Katsuya
Group shakuhachi: (Part 1) Sakata Seizan, Soekawa Hiroshi, Kanei Akio, Inoue Yoshinori, (Part 2) Kono Masaaki, Nagase Kenji, Furuya Teruo, (Part 2-2) Mitsuhashi Kifu, Seki Ichiro
B-1 For koto and sangen
B-2 Shiki no tsuki (four movements: 1, 2, 3, and 4)
A-2 Symphonic poem: Ocean
B-3 Fuku kyosokyoku (multi concert) for koto and shakuhachi
Conductor: Fukuda Kazuo, Shakuhachi: Funagawa Toshio, Koto: Haga Mikiko, and the hogaku ensemble
1. Hachidan, 2. Midare
3. 足をはずされた客車のうた
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